tpi march 2016 - issue 199

TOTAL PRODUCTION INTERNATIONAL

JASON DERULO FOALS KEVIN HART SLIPKNOT TPi AWARDS 2016 KULA SHAKERIN THE SPOTLIGHT: PRGS GROUNDCONTROL INTERVIEW: MEYER SOUND NOEL GALLAGHER

ALL TIME LOWTHE EXPLOSIVE BACK TO

THE FUTURE HEARTS TOUR

WWW.TPiMAGAZINE.COM ISSUE 199MARCH 2016

LIVE EVENT DESIGN & TECHNOLOGY M

ARCH 2016 ISSUE 199TO

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AS ABDUCTIONS GO, THIS WAS A FUN ONEWhat an absolute whirlwind of a month! After what seems like the biggest build up weve ever had, the TPi Awards 2016 landed, and took us fully hostage for at least 24 hours. The feedback weve had this year has been immense, and really reinforced how important this event is as both a night of peer recognition and a (very boozy) networking opportunity. I just love you seeing all dressed up, minus the shorts and hoodies! We were quite overwhelmed by how many of you fl ew in from your home towns and home countries in order to join us too. That is some dedication to dinner suits! Being a part of the media in the live events industry is a lot of fun, and often brings about potentially challenging situations, so being on the other side as organisers and producers of a live event with a high profi le comic (Mr Russell Kane) as the host is something we truly enjoy doing. Working amongst such talent within the crew is always a highlight in our calendar, so to all of our suppliers and engineers, thank you for bringing our vision to life! A special mention has to go our very own Hannah who worked tirelessly in helping to plan this production with the ever-lovely Ryan Esson of GoTo Live. Huge thanks to everyone who made it, and of course to all of our winners - you deserve it! I was particularly impressed with some of your choice winners this time around, which included FOH Engineer Rob Sadler, who has only been touring for two years, yet has quickly and carefully honed his craft enough to make an impression on you. Ed Warren was also amongst the trophy holders as your Lighting Designer of the Year. Mate, you fi nally did it! The backstage report on the event that 1,400 of you attended begins on Pg.36. Elsewhere in this massive issue (we seem to do everything on a grand scale these days!) we have some exclusive stories including a look at PRGs new GroundControl Followspot System on Pg.118. We also have an exclusive with Harmans outdoor live music stage at the NAMM show, Kula Shakers jaunt on the road with Roland, and Noel Gallaghers High Flying Birds live with Midas. Our large tour profi les this month show you the road crew skills behind masked metallers Slipknot, cover story All Time Low, comedian Kevin Hart, pop rocket Jason Derulo and British indie gents, Foals. Back in the business world, I sat down with the incredibly interesting John and Helen Meyer of Meyer Sound on a recent trip to America. Their story is quite fascinating and long may their infl uence on pro audio technology continue to thrive. And, breathe! I hope you enjoy reading the biggest issue of TPi weve ever made, because as usual, youve kept us exceedingly busy. Kelly MurrayEditor

PRELUDE

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Working amongst such talent within the crew is always a highlight in our calendar. To all of our suppliers and engineers, thank you for bringing our vision to life...

The crew: Hannah Eakins, Ste Durham, Kelly Murray, Stew Hume and Charlotte Goodlass.

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CREWa member of

EVENT FOCUS08 Welcome to the Family... Nitelites explains what its new RCF inventory is going to bring to the UK touring market.

14 Harman Professional at NAMM For the third year running, Harman Professional sponsored the outdoor stage at pro audio trade show, NAMM.

24 Kula Shaker Roland is the flavour of the day with this 90s Britpop band.

28 Noel Gallaghers High Flying Birds The rock fella flies high with Midas.

32 The 58th Annual Grammy Awards Powersoft delivers 720kW of crisp and reliable audio to the prestigious awards.

PRODUCTION PROFILE36 The TPi Awards 2016 We talk to the production team and suppliers who helped create and facilitate the biggest awards in TPi history.

58 Foals Intelligent indie royalty conquers UK arenas.

74 Slipknot Stew Hume heads to London to see the masked men in action.

84 All Time Low Pyrotechnics galore on the explosive Back To The Future Hearts tour.

98 Kevin Hart The rock star comedian returns to the UK.

104 Jason Derulo Things get hot and heavy on the Everything is Four tour.

DAY IN THE LIFE OF...112 Stage Manager Jim Webb gets Missy Elliot to the Grammys after-party on time.

INTERVIEW114 Meyer Sound Kelly Murray meets John and Helen Meyer in San Francisco.

IN THE SPOTLIGHT118 PRG premieres its new GroundControl followspot.

CLOCKING OFF122 Plaster Creative Communications will get on their bikes for Bristol Childrens Hospital.

MOVERS & SHAKERS124 The latest industry appointments.

PSA126 Andy Lenthall talks driving fatigue and the difficult business of legislation.

VITAL STATS130 We meet Tony Andrews, Founder of audio pioneers Funktion One.

EditorKelly MurrayTel: +44 (0)161 476 8360Mobile: +44 (0)7738 154689e-mail: [email protected]

Assistant EditorSte DurhamTel: +44 (0)161 476 8385Mobile: +44 (0)7891 679742e-mail: [email protected]

Editorial AssistantStewart HumeTel: +44 (0)161 476 8360Mobile: +44 (0)7702 054344e-mail: [email protected]

General Manager - Magazine & AwardsHannah EakinsTel: +44 (0)161 476 8360Mobile: +44 (0)7760 485230e-mail: [email protected]

Advertising Sales - TPi MagazineCharlotte GoodlassTel: +44 (0)161 476 9126Mobile: +44 (0)788 0208 226e-mail: [email protected]

Event Manager - TPi AwardsMo NaeemTel: +44 (0)161 476 8360Mobile: +44 (0)775 9272 313e-mail: [email protected]

Graphic Design & Production Dan Seaton: [email protected] Willcox: [email protected]

Accounts Lynette Levi / Sarah Miller: [email protected]

Chief Executive Justin Gawne

Mondiale Group Chairman Damian Walsh www.tpimagazine.com www.tpiawards.com

Editorial Intern Rebekka Mensing

Cover Photography All Time Low by Adam Elmakias

Printed by Buxton PressAnnual subscriptions (including P&P): 42 (UK), 60 (Europe), 78/$125 (RoW).Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK. Tel: +44 (0)161 476 5580Fax: +44 (0)161 476 0456e-mail: [email protected]

Issue 199 / March 2016

TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright 2015 Mondiale Publishing Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Publishing Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2014 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

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I dont know if youve ever met Jamie Moore of Tynemouth audio and lighting specialist Nitelites, but if you have, the chances are he was wearing a woolly hat and making you laugh with an anecdote involving alcohol and industry bonds. As technical experts go, Moore is something of an anomaly. At 32 years old, hes not only grown up in the live event industry, but hes spent the last few years redefining the touring department of Nitelites, the business his father founded 30 years ago. In the time hes been one of the company directors, Moore has built some - dare I say heart-warmingly - solid relationships, and made decisions about the companys rental stock that has enabled it to support some of the UKs most prominent live talents. IfyouvebeenreadingTPioverthelastyear,youllknowtheNitelitesclientelereadslikean

A-listmusicafterparty;JamesBay,BenHoward,Catfish&TheBottlemen,FrankTurnerandDisclosurehavealltouredsuccessfullywiththecompanysknow-howandperfectlypackagedPAsystems.As2016getswellunderway,sodoesitsrentalofferings. Offstage,thereisnodenyingthatforMooreagenuineemphasisontrustandakeendesireforprogressionintheUKtouringmarketisjustasimportantastechnologicalcapabilities.Speakingofhislatestinvestment,Moorestated:RCFaresomuchlikeusasacompany;theyrewelcoming,friendly,happypeople,andwebelieveintheirproduct,sowewanttohelpthementertheUKtouringmarket. Alberto[Ruozzi,HeadofSales]andEmanuele[Morlini,RCFProductSpecialist],havebeenthetwomaindrivingforcesbehindthisdeal.Andtheyrebrillianttospendtimewith.Especiallywiththeamazingfood,drink

NITELITES ADDS FURTHER RCF CABINETS TO ITS INVENTORY AND CEMENTS ONE OF EUROPES MOST STRATEGIC RENTAL RELATIONSHIPS. TPi WENT TO THE OFFICIAL DEMO DAYS HELD AT YORKSHIRES PRODUCTION PARK TO FIND OUT MORE.

WELCOME TO THE FAMILY...

EVENT FOCUS: Nitelites Invests In RCF

and hospitality they show us in Reggio Emilia. In fact, it was after an afternoon of Lambrusco that this family formed! In early March, I got to see this demeanour in action once again as the Nitelites clan set up home in Wakefi eld, Yorkshire, at Production Parks HQ for two days of demos. Already stockists of two renowned systems, the RCF purchase will add another dimension to the company. The investment gives the sound and lighting specialists the capacity to provide audio coverage to large festival sites as well as providing a scalable option for smaller live events. The consignment premium RCF cabinets included 56 TTL55-A high-power three-way enclosures, 24 TTS56-A, two 21-inch subs, 24 TTS36-A and two 18-inch subs. In Wakefi eld, a TTL33-A were used for downfi ll and infi ll duties, while TTL36-AS provided further LF extension, boosting the dynamic range of the fl own arrays. Additionally, six of the fl agship RCF TT45 SMA, two 12-inch fl oor monitors and 16 TT25

SMA 15-inch coaxial fl oor monitors have been purchased. The system was run on Nitelites DiGiCo SD7 consoles. Aside from the speakers themselves, Nitelites Andy Magee confi rmed that the

purchase was equally driven by the relationship the company has traditionally enjoyed with the Italian manufacturer and its north of England-based Technical Manager and Live Touring Specialist, Mick Butler, and the roadmap RCF has

set out for further development of its advanced electronic platform. Magee stated: We strongly believe in RCF and their products. Thats the reason we have been involved with them for so long.

Butler added: What you see today with this arena system is an expansion of Nitelites commitment to RCF. They have 280 RCF enclosures in their product inventory for rental. It had previously bought the product range that

09


Opposite: The demo days were held at Production Park in Yorkshire, UK, and made use of LS-Lives rehearsal space; A Nitelites FOH Drive Rack.Below: RCFS Emanuele Morlini was on hand to talk engineers through the systems specifi cations; The main hangs comprised TTL55-A with TTL33-A for down fi ll.

We strongly believe in RCF and their products. Thats the reason we have been involved with them for so long... Andy Magee, Nitelites

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Below: The RCF and Nitelites teams have joined forces to create an exciting new relationship L-R Mike Platt, Jamie Moore, Mick Butler (RCF), Dean Davoile (RCF), Emanuele Morlini (RCF), Andy Magee, Graham Orchard, and Eugenio Giuffrida (RCF).

sits beneath this in our portfolio, so its natural evolution. Its been great to see both RCF and Nitelites grow. Already familiar with the smaller TTL33-A, which run in the Nitelites hire fleet, the rental company first had the opportunity to evaluate the larger system in a real world situation, when in the Spring of 2013 they were asked to provide production support at the Royal Albert

Hall for Italian singer, Luciano Ligabue. Magee continued: This gave us the opportunity to see how good the system was, and how powerful it could be with its onboard DSP. We started to think hard about our own rental infrastructure and knew that this would open up a new revenue stream by enabling us to present the market with a premium system at a really

attractive price point. Morlini also worked in Ligabues System Tech team. He said: This is not a final celebration; this is just a starting point. We are very proud that Nitelites find our systems to be high quality and reliable for touring. The TT+ system we have today is totally different to the system we launched five years ago; its been updated and has advanced a lot. We are continuing in the

right direction, and this partnership is proving that. Magee is looking forward to the potential of clientele this investment will bring to UK live event venues. Its a great, punchy pop system. It lends itself very well to the pop genre and going forward thats the sort of thing that well be concentrating on with this system,

but its also ideal for comedy thanks to its DSP and processing in every enclosure. It can be optimised with great accuracy. Nitelites first port of call on taking delivery was the Sage Gateshead, close to its Newcastle-upon-Tyne base, where it already had RCFs HDL20-A line array installed - and it took the opportunity to rig and dry run the new system. It then set about organising a high profile launch to production managers, FOH engineers and system techs at Production Park, where full production rehearsals for Frank Turner and Ben Howard (the latter of whom Magee tours with as a FOH engineer) have previously taken place. At the demo he said: People should evaluate the system for themselves. Having demonstrated faith in the RCF brand by making a big investment in their flagship product, its going to be out there in the touring sector as opposed to just the fixed installation market, with which theyve been associated for a long time. We have a great dialogue with RCF and they are always prepared to listen to suggestions. We have backed the TTL55-A with national arena touring in mind, and look forward to the challenge of building the brand further in the live sector. Butler added: We are delighted not only that Nitelites has made this commitment, but

Nitelites have customised the system and made it practical forload-ins and loud-outs of venues in the shortest time possible. Theyve put a lot of thought process into the distribution and cabling...Mick Butler, RCF

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Below: Stage right set up: motor control, two stage racks, syscon rack and main distro; Nitelites Director, Jamie Moore talked one of the demo day guests through the new system; FOH set up with Drive Rack, RD Net Controller and DiGiCo SD7 Console; Mike Platt with an SD7.

also to have been part of their success story over the years, as they have developed into a top line sound and lighting rental company. RCF is first and foremost a loudspeaker manufacturer, weve been manufacturing since

1949 and we pride ourselves on being very reactive to customer needs. Its been good to work with Jamie and Andy throughout Nitelites development and its really exciting to have that system available in the UK. The broader pro audio industry will get an idea of our premium products and Nitelites have been pivotal in

making that happen. Theyve adapted our loudspeakers and made a very well-designed touring package with portability in mind. Theyve customised the systems accessories and made it practical for load-ins and outs of

venues in the shortest time possible. Theyve put a lot of thought process into the distribution and cabling. So hopefully this year both the US and the UK will be a major step forward in the touring market for us. Moore echoed that notion: Ive been looking for an American partner for so long

and now were talking with one of the biggest companies in the US. This really is just one small step weve taken with RCF. I get the feeling the next chapter of this story wont stop there. Moore was keen to point out that Production Park was the obvious location for the demo days thanks to their relationship with the Brooks family; Adrian and sons Lee and Ben. He said: Theyve been really supportive of Nitelites and have kept their northern roots by helping to push a small company forwards. We have a really good connection with them; Adrian is even going to help me with my fear of flying! he laughed. Bet you didnt think someone who tours for a living could be scared of flying! But seriously, Production Park is a northern powerhouse and they are absolutely smashing it. I hope the relationship between them and Nitelites is also going to grow, big time. TPi

Photos: Alex Alevroyiannis www.nitelites.co.uk www.rcf.it

http://productionpark.co.uk

Ive been looking for an American partner for so long and now were talking with one of the biggest companies in the US. This really is just one small step weve taken with RCF...Jamie Moore, Nitelites

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The 2016 event culminated in a headline performance from Graham Nash of The Hollies and Crosby, Stills, Nash & Young fame, now a successful solo artist in his own right. Nash drew crowds to the stage and seemed to really enjoy interacting with the them, reflecting on his on-stage ease. AsasponsorofNAMM,HarmanproductsaresuppliedtotheentireGrandPlazaoroutdoorstagearea,whichincludedalllightingrequirements.EricFriedlander,ManagerofTechnicalResourcesforHarmanTour,AudioandCinemaCSU(CustomerSolutionsUnit)hasanintimateinvolvementwiththeevent.HetoldTPi:ForthelastthreeyearswevesuppliedaJBLVTXV20systemandaMartinbyHarmanlightingpackagewiththeideabeingthatduringthedaysinger/songwriters,competitionwinnersandschoolbandsplayandthenlaterinthenightwe

produceshowsforheadlinerssuchasGrahamNash.Itsbeenverycoolforus,hewasjustincredible. ThisisquiteafunanduniquesetupforusbecausetheartistsarebookedbyNAMM,andwereheretosupportwhattheyneedfortheirperformancewithourproducts.Somepeoplearefamiliarwiththebrandsbutotherswillhaveneverusedthemsoitsacombinationofexperienceupthereandourexpertisemixingontheground.WereabletoshowcasethePAtoourcustomerswhocancomeoutsideoftheconventioncentreandtheirmeetingstohearthesystemandenjoytheconstantflowofshows. WithGrahamNashforinstance,KevinMadigan,hisFOHengineer,isfamiliarwiththeV20.Heoftentakesitoutontheroadwith[California-basedsoundrentalcompany]SoundImageforGrahamstours.

FOR THE THIRD YEAR RUNNING, HARMAN PROFESSIONAL SPONSORED THE OUTDOOR STAGE AREA OF THE NAMM SHOW, NORTH AMERICAS PREMIER PRO AUDIO TRADESHOW. RENOWNED FOR SHOWCASING NEW AND LOCAL TALENT, AS WELL AS ATTRACTING SOME TOP-CLASS ARTISTS DURING EVENING FESTIVITIES, THE SET UP INCLUDED A MARTIN BY HARMAN LIGHTING RIG TO FULLY ENHANCE THE BRANDS PRESENCE.

HARMAN DELIVERS ANOTHER STAGE SENSATION AT NAMM

EVENT FOCUS: Harman at NAMM

Intuitive: Gesture navigation allows all channels to be accessed via a simple swipe of the screen.

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Madigan noted: Ive had a lot of experience with the VTX. Weve toured extensively with it in a lot of different venues and Id be happy to see it anywhere I work. JBL have done a great job with this PA; its defi nition and power are superb which makes it easy to get a great sounding mix.

As Harman is primarily a manufacturer and not entirely set up as a sound rental company, it hires a local vendor. Friedlander continued: One of our customers and a really good rental partner, Mastermind Production Group help out with crew and the event in general, while

Harman provides all of the equipment. I really enjoy this part of the job. For me personally, I love mixing and I do it as often as I can. Thats why I got into this industry in the fi rst place, for an opportunity to get behind the console and make some music. While NAMM is an audio-heavy and

touring professional show, we still get a lot of customers who do a variety of disciplines such as integration retail, and some large format live sound installations with both lighting and audio. The great thing about this setting is that the audience is very discerning, its a mix of

keen-eared sales forces, business development specialists, and older rock n roll folks who are very serious about seeing artists like Graham Nash. The set up for the stage this year comprised some of Harmans latest offerings including the VTX M20 and M22 stage monitors, something Friedlander was clearly excited about. Our new M Series stage monitors have just been released and were already able to get them front of professional musicians and artists as we continue to get people used to JBL being a brand they can recognise as something they are comfortable with using from early on in their careers. Friedlander once again designed the stages audio system. There were 10 JBL VTX V20 boxes per side, six JBL VTX S25 subwoofers per side and a group of six G28 mono clusters in the middle. The subwoofers are confi gured in a cardioid pattern in order to minimise any noise upstage. To complete the system and eight JBL VT4886s were used as front fi ll. At FOH a Soundcraft Vi7000 desk was chosen alongside a Soundcraft Realtime Rack, a UAD Powered

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First page: For the third year running, Harman products were supplied to NAMMs main outdoor stage, from the JBL VTX V20 PA rig to the Martin by Harman lighting products; The new M Series of stage monitors were used for the fi rst time in a live environment. Below: A Soundcraft Vi7000 console was chosen for FOH duties with a Soundcraft Realtime Rack.

Getting to work with new technology from Harman is an exciting place to be. This year I mixed FOH on a Soundcraft Vi7000 for the fi rst time... Chad Griswold, Mastermind Production Group

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plug-in for the Soundcraft Vi Series of live sound consoles. The monitor system comprised a Soundcraft Vi3000 console, JBL VTX M20 and M22 stage monitors, JBL CSX F35 as side fill and JBL VTX S25 subs. All amplification was via VRACK 4x3500HDs. The microphone package is entirely AKG including D5 and D5C vocal microphones,

D40s, C451s, C518s, D12VRs, and C214 instrument microphones. C414XL II were utilised for audience microphones. Chad Griswold of Mastermind Production Group told TPi: Getting to work with new technology from Harman is an exciting place to be. This year I mixed FOH on a Soundcraft Vi7000 for the first time. Within a very short

time I became very comfortable with the console, and ultimately really enjoyed mixing on the desk throughout the weekend. Madigan echoed this notion: I hadnt used the Vi7000 before NAMM but I had some brief experience with the Vi Series. It didnt take long to get to grips with the Vi7000 at all. It sounds good and is well laid out for efficient working,

Below: The main stage played host to a wide variety of acts, including local talent and competition winners.


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which is my most basic criteria. The plug-in integration is easy to use too. The JBL VTX V20 system powered by Crown IT4x3500 amplifiers performed flawlessly and was not only a nice punchy sounding rig but coverage was smooth over the entire listening area. Having Harmans Performance Manager software available to tune and time align the system and make any necessary adjustments is a great all in one solution. It makes the system easier to setup, tune and monitor

throughout the event. Additionally, the new M-Series wedges on stage and the new CSX-F35 side fill boxes were awesome! These brand new products from Harman have great potential, and at Mastermind we are really looking forward to utilising them. The amount of sheer output of these new speakers and their tonal quality is amazing! On the lighting front, the Martin M1 console was driving a variety of proven Martin lighting fixtures as well as some new ones. We have found the M1 is


Below: Eric Friedlander, Manager of Technical Resources for Harman Tour, Audio and Cinema CSU.

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user-friendly, quick to set up and easy to run. Our lighting designers liked the amount of faders it has, making it easy to grab things on the fly in a festival situation such as NAMM. We utilised 24 MAC Auras for all of our front light and mid and upstage washes, 14 MAC Quantum Profiles for all of our hard-edge fixtures, four brand new Atomic 3000 LED strobes, which are very bright and have a great aura effect which makes them much more versatile than your standard strobe fixture. We also used four new rush LED strobes for effects, and eight Rush MH4 beams on the subs downstage for some arial looks. While the beams are still a discharge lamp, all of the fixtures on the stage itself were LED-based, which is great for both power saving and heat reduction on stage. We were able to run the entire rig at 120V on a 100A 3-phase service and didnt come close to consuming half of the available power, even with everything going full out which is quite impressive! he added. Its interesting that Friendlander opted to specify the Rush fixtures in this live setting. As he explained: These are generally a fixed install or entry level fixture, but because theyre well designed and easily integrated into the system, they were chosen to add more depth and allow for more programming options for our LD. They really held their own quite nicely when paired with the more pro level Martin MAC fixtures. The latter of course are often seen on arena level touring productions. He also favoured the new Atomic 3000

Strobes, which he described as legitimately mind-blowing! As the sun set on the final day of NAMM, Friedlander concluded his thoughts: I teach people about our products all the time and do training courses with them, but it is just that; training. The real world experience with musicians and engineers is the most valuable education for me, and ideally the most genuine experience for our customers too. Being able to be here at NAMM gives me a more complete knowledge and complete confidence in the tools that Im using, which in turn are the tools were supplying to our customers and our end users. Its been a great success for us, and well be back again next year for sure! Griswold continued: As we have got to know the team at Harman better it is obvious that there is a wealth of knowledge and talent there. The friendships and relationships we have created with the Harman staff through our time with them at NAMM and other events has proven invaluable. Knowing that we have a line to the people that are best suited to help us resolve any issues we come across is a great resource for our business. Furthermore, the fantastic new and innovative products are helping us expand the resources we can offer to our clients for even the most challenging of events. We enjoy being involved with Harman and look forward to being involved with more of their events in the future! TPi

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Fast-forward 5 years, and the first of the SD Series was born another Fast-forward 5 years, and the first of the SD Series was born another Fast-forward 5 years, and the first of the SD Series was born another Fast-forward 5 years, and the first of the SD Series was born another Fast-forward 5 years, and the first of the SD Series was born another Fast-forward 5 years, and the first of the SD Series was born another real trend setter, combining a quick and intuitive user interface, and real trend setter, combining a quick and intuitive user interface, and real trend setter, combining a quick and intuitive user interface, and real trend setter, combining a quick and intuitive user interface, and real trend setter, combining a quick and intuitive user interface, and

sonic capabilities that are still yet to be beaten. Each console in the sonic capabilities that are still yet to be beaten. Each console in the sonic capabilities that are still yet to be beaten. Each console in the sonic capabilities that are still yet to be beaten. Each console in the sonic capabilities that are still yet to be beaten. Each console in the sonic capabilities that are still yet to be beaten. Each console in the sonic capabilities that are still yet to be beaten. Each console in the range retains that classic analogue feel, with the ultimate in digital range retains that classic analogue feel, with the ultimate in digital range retains that classic analogue feel, with the ultimate in digital range retains that classic analogue feel, with the ultimate in digital range retains that classic analogue feel, with the ultimate in digital range retains that classic analogue feel, with the ultimate in digital

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From the rackmount SD11, all the way up to the flagship SD7, and everything in between, there is an SD console suited to every possible audio application - and they all pack a similar punch. Be it a bar or club gig, a stadium world tour, or a massive broadcast event such as The Grammys or The Oscars, the SD Series is so often the go-to.

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- and they all pack a similar punch. Be it a bar or club gig, a stadium world - and they all pack a similar punch. Be it a bar or club gig, a stadium world - and they all pack a similar punch. Be it a bar or club gig, a stadium world - and they all pack a similar punch. Be it a bar or club gig, a stadium world - and they all pack a similar punch. Be it a bar or club gig, a stadium world - and they all pack a similar punch. Be it a bar or club gig, a stadium world tour, or a massive broadcast event such as The Grammys or The Oscars, the SD tour, or a massive broadcast event such as The Grammys or The Oscars, the SD tour, or a massive broadcast event such as The Grammys or The Oscars, the SD tour, or a massive broadcast event such as The Grammys or The Oscars, the SD tour, or a massive broadcast event such as The Grammys or The Oscars, the SD tour, or a massive broadcast event such as The Grammys or The Oscars, the SD tour, or a massive broadcast event such as The Grammys or The Oscars, the SD Series is so often the go-to. Series is so often the go-to.

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Its hard to believe that Kula Shakers seminal release, K, which featured hits such as Hey Dude and Govinda is now 20 years old; yes, it was that long ago! Its fantastic to see the band still going strong and with the release of K 2.0 the quartet was on the road again, this time making use of a whole selection of Roland AV gear.

Sitting down with Mike Taylor, Monitor Engineer and Production Manager for the tour, he explained his relationship with the band: In 2006, during their Strangefolk tour, I started working as the bands LD. Their monitor engineer at the time was a good friend of mine and when he couldnt make this tour due to other commitments he put my name forward to take on the role. Its strange, I always used to see myself as a sound guy who did lighting, now a days I see myself as a production manger who does sound.

For the tour, Taylor specified the Roland gear which included a Roland M-5000 console

for both FOH and monitor control as well as three S-0808s and two S-1608s Digital Snakes. He explained: I have had a long history with Roland. I put their Digital Snakes into Glastonbury festival on the John Peel stage in 2004. We were one of the first production companies who put digital multicores on a festival stage. Since then, Ive enjoyed a really great relationship with Roland. The fact that the new consoles are so compatible with other products makes them a natural choice of this tour.

Roland was known for producing broadcast consoles but since the release of the of the O.H.R.C.A. (Open High Resolution Configurable Architecture) M-5000 desk in November 2014, the company has made its mark on the live touring market. The M-5000 works great as a live mixing console, began Taylor while stood next to the console at The Ritz in Manchester on the second date of the bands European tour.

Taylor has been very impressed with the

customisable right side of the desk where he can recall certain faders no matter what is going on in the main body. One of the things that we have really enjoyed about this console apart from the sound, is the flexibility; we are able to change the configuration of the console during the show. We can add channels, groups and auxs all without any audio dropping out. The desk lets you do what you want it to rather than the other way round. He also commented that the interface of the console, especially the touch screen functionality, is incredibly easy to use, adding that: The dynamic EQ and delays are very musical and analogue sounding, and the compressors and gates are very transparent so its easy to get a good sound out of it without having to hack things to bits.

One of the biggest things that Taylor has found useful is Rolands talk back system, which is incorporated into the desk. Monitors, FOH and the system tech can all speak to each other individually or as a group. This makes

ONE OF THE GIANTS OF THE BRITPOP ERA, KULA SHAKER, ARE BACK ON THE ROAD. TREATING A DEDICATED FANBASE TO THEIR OWN BRAND OF PSYCHEDELIC ROCK, THE TOUR AUDIO INCLUDED TWO ROLAND M-5000S FOR MONITOR AND FOH CONTROL. TPi GOT NOSTALGIC WITH SOME CLASSIC HITS FROM THE 90S.

KULA SHAKER

EVENT FOCUS: Kula Shaker

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communication during the show much easier, not to mention allowing the line check to run much smoother. With our tech and myself being on IEMs there is no shouting through the wedges, its all calm and relaxed.

Another M-5000 was also used by FOH Engineer, Suneil Pusari who had got to know the band several years ago while working in London. That was around 20 years ago but this is the first time I have ever been on the road with them. Pusari explained. Going on to talk about the console itself, he described that it had given him a great deal of control while dealing with the mix. The console really allows you to be quite creative with how you want to layout your work space, which lets you just get on with the live mixing of the band.

As well as the Roland consoles, Taylor made use of two different Roland Digital Snakes, the S-0808 and the S-1608. He explained that the S-1608 was used for all the inputs for the support band, Black Casino and the Ghost, while Kula Shakers came from the S-0808. Taylor had been a particular fan of the S-0808 as it had given him a great deal of flexibility with their placement on the stage. He explained: They can be powered via an ethernet cable from the desk, which means you dont have to be dependant on an accessible power output. Their small size also means that the whole stage box system fits in a small flight case. We are doing this tour in a small trailer so space is a premium which makes the S-0808 and the S-1608 perfect.

As well as Roland supplying consoles and Digital Snakes, the production was facilitated by M5 Audio, which provided Kula Shaker with a full microphone package, IEMs and cable system.

Taylor also was keen to note the contribution from Imax Lighting, which helped out with the tours visual needs, and VER which provided a projector for the tour.

Following the UK success, the band and crew make their way to mainland Europe. TPi

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EVENT FOCUS: Kula Shaker

Opposite: Kula Shaker were on the road again with the release of their latest album, K 2.0. Below: Mike Taylor, Monitor Engineer and Production Manager standing with the Roland M-5000; Suneil Pusari, FOH Engineer and long time friend of the band also used an M-5000.

26

TPI_E-Series_QU01.indd 1 01/03/2016 10:02:53 AM

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15 years is a long time to work with any artist, especially one of Gallaghers calibre, but its a relationship thats been built on trust: he wont work with anyone he doesnt have full confidence in, in the same way that sound engineer Dan Lewis wont work with kit he doesnt fully believe in. Thats why he relies on Midas consoles to carry out all of his FOH mixing duties. IntherunuptoChristmas,NoelGallaghersHighFlyingBirdshaveperformedinManchesterfortheRadioXChristmasshow,RadioClydeinGlasgow,andRadioTwosRedButtonshow,whichwasfilmedandbroadcastlive;andtowrapupthefestivities,theyputontheirownshowattheRoyalAlbertHall,whichtheysoldout.Thebandareanoldschool,straight-uprocknrollfive-piece,andforthisveryreason,translatingtheirpowerfulsoundtothebigstagerequiresaverysimplebutconsideredapproach. IvebeenworkingwithNoelnowalongtime,andalotofbeerago!smiledLewis,

addingthathefirstmadethemovetoFOHpositionduringtheendofOasisthirdtour.Noelalwaysknowswhathewants,andsurroundshimselfwithpeoplehetrusts,soforthemostpartImjustlefttogetonwithit.Itsaboutconsistencyfromshowtoshow,andforthisband,theMidasPRO2Cisperfect. LewishasbeenworkingwithMidassincetheOasisdays-anXL4,backthen,herecalled-andbelievesthatthebrandimpartsacertainqualityforarockband. Hecontinued:Ididashootoutbeforethisrunofshows,justtoseeiftherewasanythingouttherebetter,andalthoughseveralconsolessoundedgood,theresjustsomethingaboutthewholePROseriesthatflattersalessthanperfectinput.Itsomehowturnsadistortedorgrainysignal-whichyoullalwaysgettoanextentwithrockbands-intoareallynicetone. Whenitcomestoanarena,LewismightuseaMidasPRO9,butasthecurrenttourhasseenaneclecticmixofsmallervenues,including

AFTER THREE WORLD TOURS WITH OASIS AS THE BANDS PA TECH, DAN LEWIS FINALLY GOT THE OPPORTUNITY TO JUMP INTO THE MIXING HOT SEAT, A POSITION HE NOW HOLDS WITH NOEL GALLAGHERS HIGH FLYING BIRDS.

FLYING HIGH WITH MIDAS

EVENT FOCUS: Noel Gallagher

acoustic sets, the PRO2C has packed more than enough punch. Noel supported himself at the Royal Albert Hall show, which began with a 30-minute acoustic set of old Oasis songs, Lewis explained. Then we had a bit of a changeover, and he banged out a 90-minute electric set with the band. Because were only taking 40 inputs off the stage (less than 48 total, including ambients) the PRO2C is ideal. With a rock band like this, you want edge, you dont want it to rip your face off, so unless Noel throws in a curveball like a choir, the PRO2C has everything I need. Aside from a transient designer, which Lewis uses across the drums, there is zero outboard. Its a straightforward band, so its just a case of using the right mic in the right position with the right console, Lewis admited. We dont use more than three reverbs and a delay, so all the internal effects come from the PRO2C, and sound excellent. I also record the shows using

a Klark-Teknik DN9650 Network Bridge, which also comes in very hand for sound checks at festivals. Lewis also had rave reviews for the footprint of the PRO2C, which has not only surprised Gallaghers touring team, but a few promoters too: Noel really doesnt like change, so I told our production manager that I wanted my own console to take out everywhere. He asked how big it was, so I showed him, and he said, oh great, we can put it in with the backline! I remember we did this gig in Asia, and theyd had Muse in the night before, with tonnes of gear, so theyd dedicated half a tower for me for our show. It looked ridiculous how much room I had with just my little PRO2C up there! It may be tiny, but it makes a hell of a big sound. Thats why its my go-to.TPi

www.noelgallagher.comwww.midasconsoles.com

30

EVENT FOCUS: Noel Gallagher

Opposite: Noel Gallagher doesnt like change and opts for the Midas PRO2 for his live sound preference. Below: Dan Lewis, FOH Engineer has worked with the rock star for 15 years.CREATIVE.

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32

The 58th Annual Grammy Awards, held at Los Angeles Staples Center, saw amplifier manufacturer Powersoft deliver 720kW of reliable, clear audio to more than 18,000 attending music fans, in addition to a viewership of more than 24 million people around the world. ThenightwaspunctuatedbytouchingappearancesfromLadyGagaandNileRodgers,JacksonBrowneandTheEagles,ChrisStapletonandmanyothers,thatpaidtributetoseveralartiststhemusicworldhaslostoverthepast12months:amongthemDavidBowie,GlennFrey,B.B.KingandIanLemmyKilmister. ATKAudiotekwasonhandtosetupand

deliveraudioservicesforthegalaevent,whichhasbeenheldatthesamevenuefor16ofthelast17years.WithLLCoolJhosting,GrammyAwardswerebestowedonBrunoMars,EdSheeran,AlabamaShakesandMeghanTrainor,whoscoopedBestNewArtist.Overthecourseofmusicsbiggestnight,72PowersoftK10amplifiers,situatedinadozenrackslocatedaroundthevenue,deliveredreliable,smoothaudio-poweringallthestagemonitoring,frontfillsandupperlevelseatingareas. Withtwoprincipalactivestagesinfrontofthevenue,inadditiontoadishstagenearFOH,PowersoftK10sprovidedamonitoringpowertothesystemssidefills,wedgesanddrumfills.

SpeakersconsistedoftwoATKC6cabinetsperside,fourATKM5wedgesacrossthefrontofthestage,adrumsubwooferconsistingofanATKCSW218dual18-inchspeakerwithanATKM5ontop,andvariousATKM2s,whichweredispersedandplacedaccordingtothevariousartistneedsthroughouttheevening. Frontfillsconsistedof12JBLVRX932acrossthetop,andseveralATKCSW218subwoofers,placedforgroundfillinfrontofthestage.ThetopseatinglevelofthevenuewascoveredbyseveralATKC6cabinets,placedinproportionaldistancesaroundtheupperperimeterofthevenue.MikaelStewart,ATKAudioteksVPofSpecialEvents,saidthatthesoundofthevenue

DURING A NIGHT OF TRIBUTES AND AND PERFORMANCES FROM TODAYS BEST ARTISTS, POWERSOFT DELIVERS 720KW OF CRISP AND RELIABLE AUDIO.

POWERSOFT ELECTRIFIES 58TH ANNUAL GRAMMY AWARDS WITH 72 K10 AMPLIFIERS

EVENT FOCUS: Powersoft at the Grammys

is more or less predictable: The Staples Center was built more as a sports venue as much as a concert venue, and it never changes acoustically or structurally. Therefore, the tuning and sonic adjustments we are making are based on the scenic design.

Powersofts Armonia DSP system played an integral role in set up and room tuning, since ATK was able to use DSP presets from past Grammy Award held at the Staples Center, said Stewart: We can easily call up previous years

and previous show settings from this venue, fire them up and be ready to go, he commented. This saves a tonne of time because we dont have to start from scratch when we are tuning a room, and of course time is at a premium. Despite the convenience of set up, Stewart

asserted that reliability is the single, defining factor for a high-profile event such as the Grammy Awards: Everyone is going to have a comment or an artistic choice on a certain sound, depending on where they are sitting

EVENT FOCUS: Powersoft at the Grammys

Opposite: FOH position at the 58th Annual Grammy Awards. Below: FOH Engineer, Ron Reaves; The ceremony featured 72 Powersoft K10 amplifiers; Tom Pesa, Monitor Mixer.

We are never concerned about a Powersoft failure, and they have proven to be extremely reliable... Mikael Stewart, ATK Audioteks VP of Special Events

in the room, or how a speaker sounds. But when it comes down to it, everybody notices a failure, and we cant afford that, he said. We are never concerned about a Powersoft failure, and they have proven to be extremely reliable. Stewart added the Powersoft is a very smooth sounding amp and that the addition of Armonia software only adds to the cache of Powersoft. Beyond the reliability, great sound and tangible time reductions, Powersoft amplifiers continue to deliver on efficiency measures - particularly when it comes to the amplifiers tremendous output capability and minimal physical footprint. The fact that we can get so much power into a 6U rack is always a consideration and a definite saving, Stewart observed. When we are pairing up these Powersoft amps with JBL speakers that have to travel across the country, trucking weight and volume counts. Producers are very aware of potential cost savings in these areas, and its another way Powersoft routinely delivers for us. Although the event was once again a rousing technical success for ATK Audiotek - and by extension Powersoft - Stewart said that the evenings tribute performances were bittersweet. We lost many A-level musicians this year, and the many tributes at the show last week were very moving - particularly the David Bowie sequence by Lady Gaga and Nile Rodgers. This emotional connection is a reminder of why many of us got into this business in the first place.TPi

www.grammy.comwww.powersoft-audio.com

34

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38

PRODUCTION PROFILE: TPi Awards 2016

Its rare these days to get nerves before a show, but looking at the guestlist in the roombeforehand, the nerves definitely got to me, just as Russell was about to come on stage...TPi Awards Production Manager, Ryan Esson

39


TPi AWARDS 2016


Below: FIX8Groups Richard Kenyon worked tirelessly to perfect the show visuals; Hawthorns up-and-coming LD, Chris Green; Production Coordinator Daniel Jones; The ER Productions crew L-R: Ben Couch, Tom Vallis and Project Manager, Andrew Turner.

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For the second year running, the TPi Awards was staged at Battersea Evolution in London, and - also for the second year running - was presented by live-wire writer, comedian, and actor, Russell Kane. The event, established to honour the technical and creative achievements of the live production industry, was attended by almost 1,400 leading industry professionals and personalities, who enjoyed networking, entertainment and enough alcohol to fuel the Millennium Falcon in a sci-fi themed production spectacular. ProductionManager,GoToLivesRyanEsson,wasatthetipofthespear,ablyassistedbyProductionCoordinatorDanielJones.Thispartnership,forgedatBeaconsfestivalin2011andhonedatproductionssuchasParklifeandFestivalNo.6,relishedthechancetodemonstatetheirskillstosomeofthemostinfluentialnamesintheindustry. EssontoldTPi:Iliketochallengemyself,IliketododifferentthingsandIreallyenjoy

doingthosehybrideventsthattheTPiAwardsfallsunder.Itsarocknrollstyleproductionwhenitcomestolightingandsoundbutis,forallintentsandpurposes,acorporategiginthetruestsenseoftheword. Jonesadded:Wewantedconsistencyfrompreviousshows,butalsotomakesureweputourownstamponit.Thethemegaveusagoodbasetobringinmoretypicalproductionelementsandbeginwithaclearpictureoftheendproduct. ThebiggestchallengeforEssonandJoneswasthevenueitself;anemptyshellthathadtobecompletelytransformedintoasci-fiuniverseonatightdeadline.Jonescontinued:Thebuild,rehearsal,show,de-rig,andhandingbackofthevenuetakesallplaceinthespaceof24hours.Makingeverythingfitinthatperiodisarealtestofyourlogisticalskills. Whenitcametochoosingsuppliersfortheevent,acombinationofTPiAwardsveteransandfreshblood,suchasvideocontentwizards,FIX8Groupwereused.Essonexplained:I

hadntcomeacrossFIX8Groupbeforebuttheywereabsolutelyfantastictoworkwith.Ispentacoupleofdaysintheirstudioandeverythingtheydidwasalwayswiththeendshowinmind.Itwasreallygoodtobeapartofthatprocess,learnmoreaboutitandseethefruitionofthathardwork.

CLOSE ENCOUNTERSFIX8Studioledthevisualdesignoftheceremony,withCreativeDirectorRichardKenyonandDesigner/AnimatorHenryCrawfurdatthehelm. Kenyonexplained:WedesignedthecontentandscreenlayoutinclosecollaborationwithlightingrentalpartnerHawthorn.Theinitialbriefwastodosomethingbasedontheiconsfortheawards,whichweresci-fithemed.Wedevelopedalooseconceptbasedontheideaofaspaceshipandtriedtomaintainacoherentnarrativeratherthanamessoflightsandgraphics. KenyonsaidthatthiskindofassignmentwouldusuallytakeFIX8threeorfourweeks,


Below: The Euro Screens crew tested each layer of LED as it was flown; KB Event provided trucking duties; Transition Videos Rhodri Shaw provided cameras; MLA was once again the system of choice for VME; Production Manager, GoTo Lives Ryan Esson; General Manager of VME, Ben Hyman.

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but the relatively luxurious two-month timescale allowed the team to flex their creative muscles, experimenting with effects and trying different ideas. They used a mixture of Adobe After Effects, Photoshop and Cinema 4D Studio for content creation, and Dataton Watchout on the companys own servers for presentation on the night. Kenyon continued: It looked great, but as is often the problem with us creative types, we always think it could look better! In the future we would like to further explore the immersive mapping side of things, taking the lighting and video integration a step further. The team designed the content with Absen A3 Pro 3.9mm LED screens in mind, 240 panels of which were provided by Euro Screens. The company had six crew on site to rig and maintain them. Steve Ness, Project Manager at Euro Screens, said: Sharing the back truss with lighting, draping, and lasers did have the potential to cause a bit of a traffic jam but it all came together nicely, with everything integrating as one. Im very much of the opinion that all of the visual production elements on site should work together. While the shows opening sequence was certainly breathtaking for the audience on the

night, those on site during the build were treated to an advance screening during rehearsals - a moment that left a room full of wide eyes and beaming smiles. Ness agreed: That was a great moment. Wed all seen the render prior to being on site, and you know the PA will rumble away and the screens will look good, but to see and hear it all together was amazing. As a team you are up against it to build on time, without the bonus of a rig day, so to stand back and see the full run through was brilliant. A high-resolution screen is a high-resolution screen at the end of the day - its all about the content and FIX8 did a great job. The Absen screen was exceptionally reliable, as it always is. We used a combination of Calibre LEDView 530s and Novastar 660 LED processors, resulting in low latency processing and good colour correction ability - Im happy that we made a good choice of products to use in that environment. As well as FIX8s bespoke content, the screens played video acceptances and testimonials from artists such as Metallicas James Hetfield and U2s Bono, who expressed his gratitude towards departed Tour Manager Dennis Sheehan having the Tour Manager of the Year award named in his honour.

LIGHTSPEEDWith FIX8s initial concept in mind and knowledge of the venue from 2015, lighting rental partner Hawthorn was well-positioned to design a truly otherworldly lightshow. The company also had a brief from headline sponsor Robe, which supplied almost 300 fixtures for the event, to showcase its latest fixture - the Square.Tom Ring, Project Management at Hawthorn, said: We tried to make good use of the Squares as they fit really well with the glitchy elements of the video. We worked alongside the video content in order to create effects that immersed the audience. We also went for the PATT2013 that created a nice glow around the room and worked well with FIX8s sci-fi concept. Other than that, the intention was to create a lighting rig that showed off the Robe gear and best suited the video. Always keen to offer its young talent opportunities to shine, this year Hawthorn asked up-and-coming lighting whizz kid Chris Green to take up this character-building gauntlet and create a lighting design. The production made use of 50 Robe BMFL Blades (24 Spots, 14 Blades and 12 WashBeams), 24 Pointes, 16 miniPointes, 24 LEDBeam 100s, 30 CycFX 8s, 42 Squares, 24 ColorStrobes, 40


Below: PSAs Andy Lenthall began the evenings proceedings by paying tribute to the industry people and crew we have lost over the last year; ER Productions provided laser effects for the event.

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PATT2013s, 20 picklePATTs and two VIVAs. Green worked closely on the initial stages of the design with last years LD Jack Sayer and was supported by Ring. Hawthorn owns Robes BMFL Spot and PATT2013 products, but it was the first time that Green had the chance to work in depth with many of the other Robe products on the rig. He commented: I had an excellent selection of tools to help create the dynamics and drama needed to complement all of the action. To bring the design to life, the Hawthorn team first installed nine linear trusses in the roof of the Evolution and rigged fixtures all over them to be used for a variety of tasks and functions. The 42 Squares were used to wash light around the room during the dinner. Green also mapped 25 individual pixels on each Square so he could mimic the content appearing on the stages LED video screens as well as mapping single pixels as eye-catching and piercing beam effects to dart around the room - an on-trend look thats currently enjoying popularity for TV audience lighting. The BMFL Blades and Spots were the main workhorse beam and profile lights of the design, used for powerful beam scenes around the space, and for breakup effects sweeping across the 122 dinner-tables, floor and stage areas. The ColorStrobes, another new Robe LED product, were spread out around the trusses and used to add intense punches and accents to the evenings big moments, such as the musical sequences leading up to

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the award winner announcements and high-tension snapshots such as the Outstanding Contribution winner, Stagecos Hedwig De Meyer. The CycFX 8s were also used in video-style to fi ll gaps between and around the edges of the onstage LED video screens, extending this visual focal point further to the sides and into the corners, adding more general lighting texture to the room. The Pointes were used to slice through all the washes in the air and shoot beams around the room. With frost fi lters added, Green also used them in wash mode as backlight during the stage presentations. The LEDBeam 100s were rigged on towers at the back of the stage in groups of six, creating fans and linear patterns between the screens, helping to fi ll the backspace and the back-of-IMAG camera shots with interest. Green controlled all of this from an MA Lighting grandMA2 Light console, with another running in full tracking backup, plus three NPUs that distributed 26 DMX data universes around the room. He noted: It was a real experience working on this show! I really had to push myself as a designer and programmer, and get my head around some cool new and innovative


Below: Philips Vari-Lite encouraged guests to make sci-fi themed glowstick models; Battersea Evolution was transformed into a black tie spectacular; A mezzanine fl oor provided space for the PRG XL Video and Robe bars, above the main drinking area.

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Below: Production Park sponsored the main bar area, complete with seating from GLD Productions and Robes PATT2013 fixtures hanging like planets over the crowds.

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technology from Robe, but I loved the challenge and the learning curve. It was a brilliant opportunity for me to showcase what I can do on a big stage, and it goes without saying that I had amazing support from the incredible Hawthorn crew. Ring co-ordinated the project, appointing Green to design and operate, with Paul Bird as crew chief. Bird also programmed lighting for the atrium and the main space invader-esque main bar area, on an Avolites Tiger Touch II - utilising 12 of Robes brand new BMFL Wash Beams, 16 miniPointes and eight PATT2013s. The Robe VIP Area was lit with two VIVA profiles and more PicklePATTs on stands / trussing, providing a relaxed environment for guests to party the night away with - a scenario embraced with huge enthusiasm by attendees, allowing another great TPi Awards to carry on until 4am! Ring commented: I thought it looked great and was a brilliant event. Its especially pleasing working with FIX8 to incorporate everything into a global concept, allowing the fixtures to interact with what was happening on the screens. The challenge is already there to make next year bigger and better - but that certainly wont be easy!

SONIC BOOMVME was again chosen to provide audio for the event, providing a Martin Audio MLA Compact system to strike a balance between filling the cavernous Evolution and complying with noise restrictions. The team of

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Below: Philips Vari-Lite injected colour and creativity into the dinner with the #createlight challenge. GLS Lighting was victorious with a Lemmy-inspired Motrhead bomber; Comedian Russell Kane hosted the awards for the second year running; Team TPi arrived in style aboard one of Vans For Bands luxury nine-seater splitters with DiGiCos David Webby Webster and Shaun Clair of Clair Global in tow, escorted into the venue by Group Ones Jack Kelly.

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seven went with the same left, centre, right configuration as has been used in previous years, with three flown arrays, five modules on outer hangs and two modules on a centre hang. Underpinning this setup were four MLX subwoofers per side and DD12 speaker cabinets for infill. VME also supplied delay hangs of MLA Mini with MSX subwoofers, a Yamaha CL1 for control and Shure ULXD radio microphones for use on stage. General Manager for VME, Ben Hyman explained: The main brief for us was to achieve uniform coverage across the room. The night is almost exclusively spoken vocals that need to be clear at any position in the room. That said, the noise restrictions are always a concern due to the venues proximity to a zoo and the fact that it is a marquee, not a brick walled venue.

A final factor for Hyman to consider was the prominence of the video screens in the production, which meant that the team had to do its best to avoid arrays interfering with sight lines. He said: The MLA Compact was an obvious choice. Its a very compact system, quite literally, its very powerful, really intelligible and as a result we could maintain a low box count and keep the arrays small so that it didnt interfere with sight lines to the video screens. All of the kit had to be rigged on the day of the event, which meant the team wouldnt have time to take arrays up and down if the coverage was unsatisfactory. Again, MLA proved the solution to a problem. Using MLA meant that we could move coverage around without having to drop the system or physically adjust speaker cabinet

angles. The Martin Audio system techs Andy Davis and Nigel Meddemmen did a great job making sure everything was covered. As the crew had retained the show files from 2015, a great deal of the hard work was already done, from coverage to EQ, leaving plenty of time to fine tune the system. Aside from the main room, the bar area was covered by a Kling & Freitag Sequenza 5 line array, comprising three cabinets pole-mounted on top of a Sequenza 10B subwoofer in each corner. The system was processed and driven by the new Lab.Gruppen PLM+ 12K44 system amplifiers, with audio signal from the main room distributed over Dante to the bar area. This system was used to relay audio from the main room during the ceremony and for a DJ set to accompany the after-show party.

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Below: Robe supplied over 300 fixtures for the lighting rig whch was operated by Hawthorn; The event was celebrating its 15th birthday; A record number of guests - almost 1,400 international attendees - came to the event; Kane had the crowd in fits of giggles with his stand-up routine prior to the awards ceremony.

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THE DARK SIDE2016 was ShowTexs first year supplying the TPi Awards - installing over 200 running metres of six-metre high black Molton drapes and creating two separate VIP rooms using the renewed EasyDrape pipe and drape system. The flame retardant Molton drapes were used to create a flexible separation wall between the gala dinner and the after party. The massive fabric wall also served as an acoustic curtain to eliminate reverberation and optimise sound conditions. ShowTexs Bo Bettens said: The production team, the crew and the venue were a pleasure to work with! Everything was taken care of and, thanks to a couple of helping hands during the build, the installation of the draperies was done in no time. We had a fantastic evening and it was great to meet so many talented industry professionals from all over the world. The entire TPi organisation has done a tremendous job and we look forward to working together again next year!

YOU KNOW HOW TO USE ONE OF THESE?To create the evenings laser display, which enhanced the alien-led visual content, ER Productions specified four EX21 RGBB opsl scanning heads, two 30W RGBY opsl lasers and 17 of ER Productions Laserblades - a 30 channel DMX controllable RGB array laser fixture with 10

full rgb modules per unit. Nine of these fixtures were placed on the front truss, which created a laser curtain over the stage along with eight (four per side) on the outer trusses. The laser specialists also incorporated 18 of its Beam Burst RGB lasers to complete the rig, as well as six Look Solutions VIPER deLuxes and two Unique 2.1 hazers for atmospherics. The team chose a High End Systems Hog 4 for control, making good use of the Pangolin Beyond and ArtNet systems. While lasers at black tie dinners might not necessarily be the norm, the crew at ER relished the opportunity to demonstrate its expertise to the industry - all the while keeping on top of those all important health and safety conditions. ERs Project Manager, Andrew Turner, commented: We base everything that we do on European legislation and we always have to adhere to that. But obviously we dont want to make the show inappropriate for an audience sitting down to eat their food. Luckily this audience is full of lighting, audio and various industry professionals, so Im sure they loved it! Another new name on the TPi Awards supplier list was Transition Video, having only been founded in November 2015. The company supplied seven crew, three Sony HXC-100 cameras and PPU, as well as a VER 4.8mm LED screen for the on-stage lectern. Rhodri Shaw, Director of Transition Video

Limited, had an established working relationship with Esson from the formers time at Video Design. The Transition crew was firing on all cylinders throughout the evening, capturing footage from two static positions at the back of the room and a handheld unit at the foot of the stage.

TROOP TRANSPORTFor the second year running, Vans for Bands provided transportation for the awards ceremony, shuttling attendees from the Pestana Chelsea Bridge Hotel & Spa to the Battersea Evolution in two of its luxury nine-seat splitter vans, complete with two drivers. Company Director of Vans For Bands, Tarrant Anderson, said: It was an obvious fit for us, and a great way to get lots of key players from the live touring industry into some of our top end vehicles. This year we were also nominated in the Favourite Bussing Company category, which was great. The night was a terrific chance to meet up with colleagues in the industry that you dont see that often; old friends, and people you speak to on the phone but rarely see in person. The venue is easy to get to and great for the event. Having initially become involved with the TPi Awards through previous Production Manager Liz Madden of NoNonsense Group, KB Event

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KB Event once again provided trucking for the ceremony. Two of the companys 45ft artics and an 18-tonne truck were supplied to haul and the wide variety of kit. Andy Bell, Operations Director at KB Event, commented: Battersea is one of the easier London corporate venues to get to and both the load in and load out were without issues. The suppliers we loaded from, the venue and the production team made this a very straightforward job for us, something you cant always take for granted. We see it as a huge compliment to be asked to be part of the production of the TPi Awards; the whole thing was really well planned and executed, which is just how you want it to be when you have the eyes of the industry on you.

ONWARDS TO THE SWEET 16As is the case with many of his ilk, Esson is already thinking about how to push the boundaries further still for next years awards

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Being acknowledged by ones industry peers is one of the most satisfying experiences a professional can wish for, so I thank TPi Magazine and its readers for their kind support...Outstanding Contribution Award winner, Stagecos Hedwig De Meyer

Below: The 2016 Outstanding Contribution Award winner, Stagecos Hedwig De Meyer.

- an event for which his services have already been retained. At the end of the night, during a swift moment of calm, Esson noted: One of the good things with sponsors such as Robe and production suppliers like VME enhancing different areas of the show means that we get to try out new products. Being able to use new products as soon as theyre released rather than using them after everyone has had a go allows us to lead the way. Using the MLA system again this year for an awards dinner is a great example of that. He continued: I always want to hear constructive criticism because I am quite hard on myself and I always want to look at ways to improve things. As of yet, all of the feedback has been amazing. The group of people we got

together from suppliers to the venue and, of course, all at Mondiale Publishing, home of TPi Magazine and Awards, cared hugely about the show going well. Thats something that doesnt go unnoticed! Everybody seemed to be personally invested in the show and that certainly contributed to th

tpi march 2016 - issue 199

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